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O.W. Neighbour and Susi Jeans

kind to include all twelve possible transpositions of the hexachord. It is unusual among Bull’s compositions in giving scope to the side of his mentality that enjoyed constructing complex canons. Bull’s keyboard music forms by far the most important and extensive part of his output. A comprehensive assessment of it is difficult, however, for although most of the more substantial pieces from his English years are securely attributed to him, scarcely any of the sources are entirely trustworty in their ascriptions. Indeed, the most important source of all ( F-Pn Rés.


Kurt von Fischer

revised by Gianluca D’Agostino

more have the superius and tenor texted, a pattern that made its first appearance in the works of Landini; six have all voices texted, in the Italian manner). 12 of these 18 works are in French mensurations (eight in 6/8 and four in 9/8). Verto and chiuso endings occur in 31 pieces (often cadencing on D, E, D), including all the pieces with text in the superius alone; whereas this double ending is hardly ever found among the works with text in all voices and in those with two parts texted. French influence can also be suspected wherever in place of smooth flowing


Richard Kassel

adapted guitars I and II, adapted viola (bowed), kithara I and II, surrogate kithara, harmonic canons I, II (Castor and Pollux) and III (blue rainbow), crychord, koto (a gift from Lou Harrison and not altered) idiophones (all tuned unless otherwise stated): diamond marimba, quadrangularis reversum, bass marimba, marimba eroica and mbira bass dyad (all wood); boos I and II, eucal blossom (bamboo); gourd tree, cone gongs (metal); cloud-chamber bowls, mazda marimba (glass); zymo-xyl (glass and wood), spoils of war (metal and wood, includes whang gun) aerophones: chromelodeons


Stephen Montague

emerged as significant influences. Bug-Mudra and the opera VALIS in particular were an attempt to reach out to a much wider public and proved controversial to the post-Webern scene he had recently left in Europe. In the United States his output flourished, expanding into a wide range of genres from Hidden Sparks for solo violin ( 1984 ), Song of Penance ( 1992 ), for hyperviola, computer voice, and chamber orchestra to Brain Opera ( 1996–8 ), an audience-interactive experience in three parts. In Brain Opera the audience moves first through a room which he calls


Horace Fitzpatrick

revised by Thomas Hiebert

double concerto at the Concert Spirituel; this was the first of at least eight appearances there by Domnich between 1785 and 1788 . In the latter year he played a solo concerto by Devienne, but he otherwise appeared mainly in duos and trios with Lebrun. By 1787 he had joined the Opéra orchestra as Lebrun’s second, in 1793 he entered the National Guard band and by 1799 he was second horn at the Théâtre Feydeou. Domnich, along with Duvernoy, Buch and Kenn, was appointed professor of the horn at the newly formed Paris Conservatoire in 1795 . He was professor of


Paul Attinello

composed separately on cards and put together in a relatively formal or informal manner to create the whole. The most important and extended example of this compositional technique is Staatstheater ( 1967–70 ), Kagel’s first opera and one of his most sharply anti-institutional works. He described the work as ‘not just the negation of opera, but of the whole tradition of music theatre’. Each of its nine sections involves performers – soloists, chorus members, dancers and players – in a set of actions that subverts the normal performance hierarchy: members of the chorus


Roger J.V. Cotte

depleted estate, and has since been untraced. Several portraits of Bagge are known, one of them engraved by Nicolas Cochin (reproduced in Terry) and another portraying him with a violin ‘comme un ménétrier’. Works all printed works published in Paris Orchestral 3 sinfonie (1788) 4 vn concs., all (n.d.) vn conc., F-Pn ; 2 symphonies concertantes, D-B Chamber 6 quatuors concertants, str qt, op.1 (1773) 6 trio, 2 vn, b (n.d.) Airs de Marlborough variés


Edward R. Reilly

revised by Andreas Giger

greatest influence on his development as a performer and composer. His interest in composition, particularly in works for the flute, continued to grow, stimulated by a wide range of Italian and French works then performed in Dresden. In the Saxon court’s repertory, however, influenced by opera seria and the instrumental compositions of Corelli, Torelli and Vivaldi, the Italian musical style gradually superseded the French. Between 1724 and 1727 Quantz completed his training with a period of study in Italy and shorter stays in France and England. He studied counterpoint